SLAYER RELEASE NEW TRACK...

...and it blows.



Repetitive. Check.

Structureless. Check.

Bland. Check.

It appears that Slayer, the one band of the Big 4 that people thought still "had it" after Megadeth went Radio Rock, Metallica stopped releasing music and Anthrax Joey Belladonna'd, have gone and fucked it.

I have never claimed to be a huge Slayer fan, but could always appreciate the rather "boiled to pure concentrate" approach they took to Metal, but this just doesn't go anywhere. On my first listen it took me over a minute to realise the song had ended, I'd already stopped listening.

When The Stillness Comes will be available as part of Record Store Day on April 18 if you want to buy it. I guess there's nothing more Metal than Pseudo-Masochism. Not to appear racist and hateful towards any one particular country it will be released at participating independent record stores across the globe as a limited-edition (only 5000 copies worldwide), seven-inch vinyl picture disc.

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ENTHEOS SHOW THEMSELVES AS WORTHY SUCCESSORS TO ANIMOSITY'S THRONE

Reviewing a release like Entheos' Primal EP is a difficult thing, ever since Evan Brewer announced his departure from the infamous Tech Death group The Faceless I was half begging for the bassist to reform San Fran Deathcore legends Animosity and with Entheos, that is basically what he has done. It would be rather safe to say that I am perhaps a little too invested in Primal.

...All that said, I would be amiss not to talk about it.

In a very real way Primal is exactly what everyone expected from Entheos and in that way alone could it be said to be disappointing. Considering all but one member of the band hails from the aforementioned Animosity, it is not surprising that Entheos sound rather a lot like the later works of their precursor. Animosity were known (or not as the case may be) as an OG Deathcore band, and are one of the few, in my mind, that successfully merged Deathcore and Hardcore into one whole. In the same way 90s Metalcore ala Earth Crisis, Deadguy, Shai Hulud and similar were Hardcore bands playing Slayer, Animosity were a Hardcore band playing Cannibal Corpse; they took the technical aggression of Death Metal and added Hardcore elements to an even greater extent than Suffocation did before them.

It was a very different world back then, when genre names actually had some basis in the music being played and Screamo didn't just mean angsty Pop-Rock.

As has already been said Entheos share many similarities with Animosity, especially their Animal era, though the Hardcore influence has been lessened somewhat. These riffs from Entheos are equal parts pin-point precision technicality and bone breaking, ear destroying heaviness. Guitarist Frank Costa has seemingly lost nothing since his days in Animosity. The rhythm section is comprised of technical and progressive heavy weights Even Brewer and Navene Koperweis. Since their time in Animosity Brewer played bass with The Faceless and Koperweis drums with Animals As Leaders, there are arguably few better places that each could further refine their chops. It is possible that the perfectly balanced production makes it more obvious than the murky fuzz of old Animosity albums, but Evan Brewers bass work reaches dizzying heights on this release. Never content to keep it simple, Brewer manages to find new and interesting ways to match the progressive ferocity of Costa's riffs. The EP’s name sake track, Primal, shows perhaps the best example of this, where Brewer unleashes a slap bass part unparalleled in modern Death Metal. Koperweis’ beats fit in perfectly too, with drum patterns often sounding deceptively simple when compared to their actual complexity. Some of those timings make my head spin. If you don’t believe me, check out this play through:

The odd player out in Entheos, is vocalist Chaney Crabb, who isn’t just in the band because she’s dating Navene Koperweis. Her vocals are absolutely monstrous and Veil of Maya really missed out when they didn’t hire her after Brandon Butler left in 2014. Her audition performance was so good it was considered news worthy by Metal Injection and it’s not hard to see why. Crabb is a great choice to front the second coming of Animosity and I’m sure Veil of Maya are regretting their choice now.

As I said before the only complaint that can be truly leveled at the Primal EP from Entheos is that a band comprised of mainly members of Animosity, sounds basically like Animosity. For those who have missed Animosity has much as I have, this EP is a perfect return to the heights of that band. For those who have never heard of Animosity and like heavy music that knows how to groove as well as tech the fuck out… well where the hell have you been. Don’t wait another second, listen to the Primal EP... and then some Animosity.

4.5/5

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WHY COMPLAINING ABOUT THE LACK OF ROCK AND METAL AT THE GRAMMYS IS DUMB

The Grammy’s rolled around last night, and by rolled I mean it really did roll around like the bloated, self-satisfied wank party that it is. People have been complaining about this for years, it’s just sort of readily accepted that most official award ceremonies are a load of warmed up bollocks.

So then why has everyone in the Rock World been getting bitchy about it?

Allow me to be your guide to the World of Rock butt hurt and the Grammys and my oh so sensitive rebuttals. (Scroll down for a slightly more sensible look at the Grammy voting process.)

But they didn’t mentioned the late great David Brockie (aka Oderus Urungus)!

Yes they skipped out the death of Oderus, frontman of GWAR, just how last year they skipped over the death of late Slayer guitarist Jeff Hanneman.

I’m sure I’d be joining Brockie, if he were still able to speak, in saying, who gives a rat's ass? I love GWAR, but this is the Grammys, not the Rock n’ Roll hall of fame. Winners this year included Beck, Eminem and the goddamn BEEGEES. And somehow maudlin pile of beige, Sam Smith, got best new artist. Do you see my point yet? Would Oderus want recognition from this puny flesh sacks?

It’d be like going to the Golden Gods and complaining that Will.I.Am. wasn’t included. It doesn’t matter that Brockie was a nominee in years past. GWAR are irrelevant in the world of the Grammys and getting mad about it reeks of the “my favourite genre is better than your favourite genre” mentality that is one of Metal music’s biggest flaws.

(For the record the above Rock Awards mentioned aren't much better)

But they didn’t mentioned the late great Wayne Static!

Again, I have nought but respect for Static-X, but when was the last time they had anything close to a huge radio hit that they could pedal for cash dolla or any other huge mainstream success? If nothing else do you need your taste justified by a panel that decided that Pharrel was the best urban release of the year?

But Paramore winning “Best Rock Song” is a conspiracy!

This is a real opinion held by real people. Just let that sink in.

Not only that it’s an opinion held by Nu-Metal/Alt. Rock band Trapt.

Thing is though, they’re not wrong in a way. Yes it is a conspiracy, a conspiracy based around the fact that they don’t really care about Metal music.

Oh no the Grammy’s don’t like Metal, better get my victim complex in order because it’s really important that the Grammy’s validate my life choices.

Also the BECK record is sweet. Just sayin’. Better than any Trapt record I’ve ever heard.

But Tenacious D won best metal!

How many times does it need to be repeated… the Grammys don’t care about Metal. Tenacious D is popular and shifts units. End of discussion.

*Anything related to how no real Rock or Metal bands won anything*

Grow up. The Grammys don’t mean anything and in no way negatively affect the music you love.

Okay...

Okay...

I’ve had my fun, let’s actually take a closer look at the voting process to explain exactly why a Rock or Metal band was never going to get anywhere close to a prize.

Submission for entries is handled by “Recording Academy members and record companies” this is hint one. The Grammy submission process is already biased towards big businesses in music. To become a member of “The Academy” you have to be a music maker and then you’re let in by the Academy itself, which is likely made up of other Record Execs, Commercial Song Writers and I don’t know… maybe Al Gore? So the chances of a Metal Album being submitted in the first place is next to nil. I somehow doubt any one from Metal Blade would be let in, if you know what I mean. It’s like the Masons, if the Masons loved really bad music.

Once an entry is sifted through the corporate pigeon holing process it goes to nominating. “First-round ballots are sent to voting members in good dues standing.” Now what do you think that means? Past winners perhaps? Record Companies that sponsor the event? Either way it can be re-asserted here that it is a cyclical process. To win you have to fit in to the same standards that have already lead artists to win. Record Execs have to like you, which probably means you’re signed to them. Does my opening classification of the awards as a self-congratulatory wank-fest sound less like an overblown insult yet?

Final voting is again done by “members in good dues standing” which is a lovely ambiguous phrase which basically means, people the Academy likes. Meaning that it’s basically an award ceremony about Record Companies telling themselves how great they are. Rock and Metal bands or any real recognition of artistry are absent. All award shows are the same.

My advice to anyone upset by anything Rock or Metal related that may or may not have been included in the Grammy’s is to simply Let It Go…

…which coincidentally won Best Song Written For a Motion Picture. 

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"ART FOR ART'S SAKE"; A LOOK AT METAL'S IGNORED ARTISTS: PART ONE

One thing that arguably sets your average Metal album part from say a Pop album, or even the majority of Rock albums, is album art. Back when I actually still had a local record store I used to buy a lot of albums based on album art. I wouldn't have developed my lifelong man-crush on Mike “Gunface” McKenzie if I hadn't picked up The Red Chord’s Fed Through The Teeth Machine based on the artwork. I think most of you would be lying if claimed not to have had a similar experience.

If I had known the name of the artist whose work adorns the cover of Fed Through The Teeth Machine, I would have named them and trust me, I looked. The fact that I found nothing is perhaps a sign that the art on the surface of an album is not as well respected as the art found within. Take your favourite album, do you know who did the album cover? I know I don’t.

This doesn't really seem all that fair does it? So to help remedy this, let’s talk art in this first part of our two part feature on some of the best visual artists in Metal.

Derek Riggs

Let’s start of easy. Derek Riggs is possibly the most iconic album artist in all of Metal. Though that may likely be to the fact that he's the core artist for Iron Maiden, one of the biggest bands ever.

Rigg's style is heavily influenced by Science Fiction and Horror art which certainly comes across in his work for the British Metal Super Stars. Incredible landscapes and strange beings aplenty grace Rigg's work and you can almost believe in these fantastical worlds. The Sci Fi influences being no more apparent than they are on Gamma Ray's Power Plant. Truly awesome stuff.

Larry Carroll 

Larry Carroll's claim to fame is his work with Slayer, finding his place on the front of Reign in Blood, South of Heaven, Seasons in the Abyss and Christ Illusion. Prior to being contacted by Rick Rubin to work on the trifecta of Thrash brilliance (and Christ Illusion) Carroll's sole work was with political magazines. Yet somehow he managed to create some of the most gruesome and deeply interesting album covers that didn't just focus on gore. In an age prior to Photoshop Larry Carroll  created collages through manipulating Xeroxed images and this style is easily seen on Slayer's detailed covers. Larry Carroll is unlikely to return to the Metal world but his contribution to the genre and unique style cannot be denied. 

Dan Mumford

Iconic artists seem to mainly be relegated to the history books, many of them are no longer active, or at least only working with the same handful of old school true metal bands. Dan Mumford however, with his work with bands such as Biffy Clyro, Protest The Hero, The Devil Wears Prada, THE HELL and well... a huge amount of modern bands outside of the realm of "trueness", makes him a very much a contemporary figure. Dan's bold, cartoony style is unmistakable. Despite being mainly known for his Metalcore album covers, this is not the only place he flexes his creative muscle, working with charities, art galleries and film directors on a variety of different projects doing general arty things, Dan Mumford has his fingers in many paint pots. You may not like the bands he's working with, but you can't deny the guy has talent.

Ed Repka

If we think of Derek Riggs as the king of NWOBHM Art, then Ed Repka, most famous for his depiction of Megadeth mascot Vic Rattlehead, is the king of Thrash Art. His vividly colourful depictions of the comically and satirically grotesque can be found on albums from Austrian Death Machine,  Nuclear Assault, Possessed, Death and many, many more. Repka's brand of supernatural realism has become a staple of Metal album art and is perhaps one of the most replicated styles in its field; the impact the now Art Director of NECA's work has had on album covers is huge. Ed Repka is still an active artist and still takes commission for album covers and basically anything else. If price is no obstacle how cool would it be to have art from the guy who gave life to the most well known mascot in all of Thrash Metal and provided cover art for the Godfathers of Death Metal themselves?
 

Eliran Kantor

While Eliran Kantor is not as big of a name as Riggs or Repka his work is no less spectacular. From the early 2000's Kantor's varied style can be found on bands from a variety of Sub-Genres. Manipulated photographs, classical inspired painting and supernaturally real works graces albums from Testament, Sigh, Kataklysm and a whole range of other modern releases. It his perhaps his classically inspired paintings that are the most memorable, the painterly style adding a sense of grandiosity and importance to every album such work adorns. The art for Kataklysm's Waiting For the End to Come is perhaps the best example of this, highly reminiscent of  Gustave Doré's illustrations for Milton's Paradise Lost, this cover sets the album off to a dark and imposing start even before you've put the CD in the player.

John Dyer Baizley

Apparently not satisfied with merely being the guitarist from one of the best Progressive Sludge bands out there, Baroness guitarist John Dyer Baizley has continued to develop his first love of Graphic Design, becoming one of the most instantly recognisable visual artists in the Metal world>. While Baizley is a little uncomfortable working on a commission basis, as he told Metal Injection, Baizley has worked with many bands, including high profile work for Metallica. Citing his influences at Art Nouveau meets Black Flag covers with a dash of  Punk artist Pushead, John Baizley has a surreal, comic-like style with thick lines and bright colours. Baizley does not seem to be slowing down with his work, despite claiming there is no money in album covers, so you're sure to see his expressive pieces on many more albums to come. 

That's it for Part One of our Two part feature. Make sure you check out part Two where we'll be featuring even more great Cover artists!

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THE WORST ALTERNATIVE CHRISTMAS JUMPERS EVER

We can all agree that Christmas is a time of great joy. It's a time of giving and love and snow and presents and food and well... a lot of great stuff. However there is a plight upon this, the most Holy of commercial Holidays:

THE ALTERNATIVE CHRISTMAS JUMPER.

These things are a plight upon the world and must be stopped. For future reference here is a list of the worst offenders so you can recognise the enemy when you see them. The appropriate course of action normally includes burning. 

10: Didn't even have the good graces to write "Sleigher" on it. Heathens.

9: If there was ever a jumper to punch your Nan in, it's probably this one.

8: Christmas; the season of bestiality and matricide. 

7: The album is a classic, this is just tragic. 

6: Nothing says Christmas like animal sodomy.

5: But it...

4: ...seems to be...

3: ...a theme.

2: There's going to be a new Christmas movie tradition started in my house this year. 

1: It really is that simple. Whoever thought of this should be forced to wear every single one of these things all at once in atonement to my eyes.

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